BLIND

BLIND is an urban performance presented as an open work that refers to different readings: the reduction of our existence to the productive function and consumption, overwork, imprisonment and petrification of life, automation of daily life, ethical degeneration that is spreading at the present stage of society. The visual proposal is to criticize the grinding conditions so typical of all kinds of corporate work iconized in the social outfits that men and women wear in the great metropolises as an everyday armor. The work is developed from a theoretical and practical workshop, an opportunity in which the performative chorus is formed and the work comes to life. The debut of BLIND was on Paulista Avenue, followed by a performance in Rio de Janeiro in 2012. BLIND participated in the Sesc Palco Giratório (Rotating Stage) Program, being performed in almost all Brazilian capitals, in addition to being approved by the Pro-Rectory of Culture and Extension of the University of São Paulo’s grant, within the project “Cities in Performance”. It was also performed in Paris, Amsterdam, Barcelona, Funchal and New York. In 2015 the intervention represented Brazil in the International Quadrennial of Prague, and was performed during the Virada Cultural of São Paulo and the International Dance Festival of Londrina. Also in 2015 the project was contemplated by the Funarte Myriam Muniz Theater Prize, in the Circulation category. In 2016, it is performed in San José, Costa Rica, in partnership with the School of Dramatic Arts of the University of Costa Rica and LAB Memory of the performing arts. In 2017, BLIND goes to Europe participating in Imaginarius - International Street Theater Festival of Santa Maria da Feira, Portugal, with presentations planned in Zurich, Switzerland. The performance will also represent Brazil at the World Stage Design, in Taipei, Taiwan, China, an event organized by OISTAT - International Organization of Stage Designers, Theater Architects and Technicians, that every 4 years celebrates the best in performance design around the globe, presenting a Panel with artistic productions developed worldwide.

MARRIAGES

Scenic urban intervention that seeks a reflection on gender equality through the poetic and critical strangeness of the classic image of christian marriage. Questioning the imposition of the heteronormative and monogamous pattern as an instrument of social control of affective relations and the notion of family, the action is intended to be carried out from a cartography of places/spaces marked by intolerance, oppression and gender violence. It was held for the first time on Valentine`s Day 2015 at Paulista Avenue/SP, and was part of the program of the X Encuentro (Encounter), an event sponsored by the Hemispheric Institute of Performance and Politics of New York University, in Santiago, Chile, in July, 2016. In the same year, it was performed in São Paulo, on the Satyrianas Festival, in November.

CONCRETE

Based on the news of a case of collective rape in Rio de Janeiro, the action sought to reflect the role of women in contemporary society against the standards imposed by a sexist, white and heterosexual patriarchy. The performance was realized at peak times in the central region of the city where there is great movement of people. The action consisted in cementing half-naked women in the middle of the public square, proposing a reflection about the woman’s body in space, as well as the violence, symbolized by the cement that would petrify and corrode the female bodies.

INTERDICTED

Urban scenic intervention carried out in Paulista Avenue, created in partnership with students of the student occupation of the Maria José State School, located in the district of Bixiga/SP. Interdicted was a scenic performative response to the political and social moment lived by secondary students of the State of São Paulo, who occupied the buildings of their schools in search of improvements in the public school system. During the action, about 40 students of the public school system were immobilized and in silence were put “interdicted” with hazard warning tape as a way of questioning the measures that the Government of the State of São Paulo was imposing on the public education system.

INTERDICTED

Urban scenic intervention carried out in Paulista Avenue, created in partnership with students of the student occupation of the Maria José State School, located in the district of Bixiga/SP. Interdicted was a scenic performative response to the political and social moment lived by secondary students of the State of São Paulo, who occupied the buildings of their schools in search of improvements in the public school system. During the action, about 40 students of the public school system were immobilized and in silence were put “interdicted” with hazard warning tape as a way of questioning the measures that the Government of the State of São Paulo was imposing on the public education system.

PULSE

Relational performative theater show that starts from the narrative of a hospital admission to problematize life and the confrontation with the risk of death, involving the audience in ambiences and relational games. The show was selected by the curator of the USP International Theater Biennial in 2012, whose theme was “Incendiary Realities”, performing a season of presentations at the Tenda Cultural Ortega y Gasset, at the State University of São Paulo - UNESP and at TUSP - São Paulo’s University Theater.

LET THE ARTISTS DIE

Performative theater show that has a elements of the shows “The Dead Class” and “Today is My Birthday” from Polish director Tadeusz Kantor as a reference, establishing a dialogue with the following questions: “What is death for you?”, which was the motto of the dialogue with the audience, and “When does the artist dies in life?”, which served as inspiration to weave a scenic event, composed by Theater, Installation, Performance, Music, Video and relational experiences, whether in dialogue with the audience, or in the inclusion of a group of 22 amateur elderly singers and homeless as actors and co-creators in some scenes. The show staged at Sesc Consolação, being idealized for the Exhibition Machine Tadeusz Kantor, during its first time in Brazil.